Thursday, November 29, 2012

Alex Ross Inspires a Festival: All 20th-Century Music, All the Time

Alex Ross's 2007 publication The Rest Is Noise has inspired a year long festival in London for 2013. The behemoth of a festival will consist of 100 concerts by 18 orchestras over 12 weekends in a chronological survey of 20th century music.

Mark your calendars and check out the New York Times article here.



Tuesday, November 27, 2012

Interactive Frequency Chart

Selected ranges (image: IRN)

I recently came across this well laid out and informative chart illustrating the frequency ranges for a number of commonly used instruments. Click "Read more" for the link to the full, interactive chart.

Wednesday, November 21, 2012

2012 PARMA Recordings Anthology of Music


PARMA Recordings is pleased to release the 2012 PARMA Anthology of Music, featuring 10 works for small ensemble by contemporary composers.


The free download on the PARMA Recordings website provides viewable scores of the works as well as downloadable scores and parts in order for ensembles to easily access, rehearse, and perform the works.

In addition to the scores and parts, the 2012 PARMA Anthology of Music web-app includes a "Search By Instrument" feature, composer biographies, liner notes, publisher and performance information, and more.

These ten original pieces represent new music by up and coming composers, selected for their professionalism, innovation, programmability, and performability. The works offer a variety of choices in instrumentation and aesthetics, and are representative of the melding of genre in today's musical landscape.

The 2012 PARMA Recordings Anthology of Music features the following composers and works:

  • Ron Amchin | Bells of The Angelus for solo piano
  • Emily Cooley | Etched for string quartet
  • Quinn Dizon | Awakening for piano quartet
  • William Dougherty | Altar Ego for violin, cello, and piano
  • Brendan Faegre | The Circular Ruins for piano trio
  • Ted Goldman | Scrudge for piano trio
  • Emily Koh | [circum]-perceptio for clarinet, violin, cello, marimba, and piano
  • Pablo Labi├ín Camino | Free Movement for clarinet, alto saxophone, violin, contrabass, and piano
  • Joel Love | Synchronicity in Purple Minor for violin and viola
  • Matthew Ricketts | Suggestum for string quartet

Tuesday, November 20, 2012

'The Rest' Takes Down 'the Best'

Antique, High-end Violins Come Up Short in Double-blind Study


21 out of 21 experts agree: this is a picture of Stradivarius

Early last year, researchers conducted a study in an effort to discover if highly-coveted 18th century violins, from esteemed craftsmen such as Stradivari and Guarneri, lived up to their considerable reputations. The antique violins were measured against their modern counterparts by 21 experienced players - the results of the double-blind tests were surprising: 
"We found that (i) the most-preferred violin was new; (ii) the least-preferred was by Stradivari; (iii) there was scant correlation between an instrument's age and monetary value and its perceived quality; and (iv) most players seemed unable to tell whether their most-preferred instrument was new or old" (Fritz et al.).
Click "read more" for information about the authors, their methods, and their conclusions about modern violin production.

Tuesday, November 13, 2012

Where Do Pianos Go When They Die?

Mr. J. Reid tickles the ivories (image: BBC)

An informative article recently appeared on the BBC about aging piano's and the conflicting emotions surrounding their necessary disposal. Click "read more" for a link to the full story along with a short video.

November 2012 Release Day

We are proud to announce the release of our November 2012 albums on Navona and Ravello! THE LAST MUSICIAN OF UR, CONVERGENCE, GALLERY, DIMENSIONS, CONCERTI FOR PIANO WITH PERCUSSION ORCHESTRA, and CASINO UMBRO are now available for purchase on Amazon, iTunes, and many others. Click "Read More" for more information on each release.



Thursday, November 8, 2012

Elliott Carter, Master of Complexity


 A nice piece in the New York Times today by Anthony Tommasini remembering Elliott Carter.